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View of “Jan De Cock,” 2017. Photo: Agostino Osio.

Jan De Cock

Francesca Minini

View of “Jan De Cock,” 2017. Photo: Agostino Osio.

“Is it still possible today for art to exist outside of the rules and demands of the market?” It seems strange to read this question as the opening line of a commercial gallery’s press release, and stranger still to discover “communism” as one of the stated objectives of an artist working within the existing art system. And yet this was the case with Jan De Cock’s “Everything for You, Torino.” Apparently De Cock is working to critique the market from within. His own word for his practice is sculpturecommunism. To this end, he uses his studio as a design and exhibition space for his own work. And he has installed a series of works in public spaces, without requesting permission, usually at night. His intention is to update the function of the monument, understood as a work that can be enjoyed by a broad public, outside the places set aside for art.

The Milan show contained many tall

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